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Monteverdi in Venice tells the story of Monteverdi's arrival in Venice and his thirty years of continuous work there as Director of Music at St. Marks. Todays fads and fashions produce odd distortions of Monteverdi's musical habits. His vocal works, meant to be performed one voice to a part, are consistently given by massed choirs. For decades conductors and their audiences have swallowed the false theory that his music should be transposed, although there is no need to do so. This book describes and solves these problems, allowing the composer to shine through layers of pseudo-musicological varnish that has obscured a large part of his message.

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This is a study of the secular music of Claudio Monteverdi, the foremost Italian composer of the late Renaissance. Gary Tomlinson bases his narrative on the works themselves - nine books of madrigals, three complete operas and a fragment of a fourth, and numerous canzonette, scherzi, and arie, all written between 1584 and 1642 - but his approach is as much literary and cultural as purely musical. The relationship between music, poetry, and cultural ideology is at the core of the discussion, and Tomlinson pays particular attention to Monteverdi's position within the context of late Renaissance humanist and scholastic values. He also shows that the extraordinary variety of responses to poetry in Monteverdi's music was induced by the wide stylistic diversity of the poems themselves. For Monteverdi, the expressive power of music was a function of its relation to its text, and it is the unceasing imagination he brought to musical transfiguration of poetry which this book continually stresses. A book of interest for scholars and students of the music, literature, and culture of the Italian Renaissance.

Claudio Monteverdi (1567-1643) is well known as the composer of the earliest operas still performed today. His Orfeo, Il retorno d’Ulisse in patria, and L’incoronazione di Poppea are internationally popular nearly four centuries after their creation. These seminal works represent only a part of Monteverdi’s music for the stage, however. He also wrote numerous works that, while not operas, are no less theatrical in their fusion of music, drama, and dance. This impressive book is the first to survey Monteverdi’s entire output of music for the theater – his surviving operas, lost operas, and other dramatic musical compositions. Tim Carter, a leading Monteverdi expert, begins by charting the progress of early opera from the north Italian courts to the "public" theaters of Venice. He places Monteverdi’s stage works in the broader context of early seventeenth-century theatrical endeavor and explores crucial questions of genre, interpretation, and performance practices both then and now. Taking a pragmatic view of how the works were brought to life in the theater and how they were seen in their own time, Carter discusses the complex modes of production that involved a range of artists, artisans, creators, and performers. With insightful commentary on the composer’s individual works and on the cultural and theatrical contexts in which they were performed, Carter casts new light on Monteverdi’s remarkable achievement as a man of the theater.

Claudio Monteverdi (1567-1643) was the first important composer of opera. This innovative study by one of the foremost experts on Monteverdi and seventeenth-century opera examines the composer's celebrated final works―Il ritorno d'Ulisse (1640) and L'incoronazione di Poppea (1642)―from a new perspective. Ellen Rosand considers these works as not merely a pair but constituents of a trio, a Venetian trilogy that, Rosand argues, properly includes a third opera, Le nozze d'Enea (1641). Although its music has not survived, its chronological placement between the other two operas opens new prospects for better understanding all three, both in their specifically Venetian context and as the creations of an old master. A thorough review of manuscript and printed sources of Ritorno and Poppea, in conjunction with those of their erstwhile silent companion, offers new possibilities for resolving the questions of authenticity that have swirled around Monteverdi's last operas since their discovery in the late nineteenth century. Le nozze d'Enea also helps to explain the striking differences between the other two, casting new light on their contrasting moral ethos: the conflict between a world of emotional propriety and restraint and one of hedonistic abandon.

Monteverdi in Venice tells the story of Monteverdi's arrival in Venice and his thirty years of continuous work there as Director of Music at St. Marks. Todays fads and fashions produce odd distortions of Monteverdi's musical habits. His vocal works, meant to be performed one voice to a part, are consistently given by massed choirs. For decades conductors and their audiences have swallowed the false theory that his music should be transposed, although there is no need to do so. This book describes and solves these problems, allowing the composer to shine through layers of pseudo-musicological varnish that has obscured a large part of his message.

Claudio Monteverdi (1567-1643) is well known as the composer of the earliest operas still performed today. His Orfeo, Il retorno d’Ulisse in patria, and L’incoronazione di Poppea are internationally popular nearly four centuries after their creation. These seminal works represent only a part of Monteverdi’s music for the stage, however. He also wrote numerous works that, while not operas, are no less theatrical in their fusion of music, drama, and dance. This impressive book is the first to survey Monteverdi’s entire output of music for the theater – his surviving operas, lost operas, and other dramatic musical compositions. Tim Carter, a leading Monteverdi expert, begins by charting the progress of early opera from the north Italian courts to the "public" theaters of Venice. He places Monteverdi’s stage works in the broader context of early seventeenth-century theatrical endeavor and explores crucial questions of genre, interpretation, and performance practices both then and now. Taking a pragmatic view of how the works were brought to life in the theater and how they were seen in their own time, Carter discusses the complex modes of production that involved a range of artists, artisans, creators, and performers. With insightful commentary on the composer’s individual works and on the cultural and theatrical contexts in which they were performed, Carter casts new light on Monteverdi’s remarkable achievement as a man of the theater.

Monteverdi in Venice tells the story of Monteverdi's arrival in Venice and his thirty years of continuous work there as Director of Music at St. Marks. Todays fads and fashions produce odd distortions of Monteverdi's musical habits. His vocal works, meant to be performed one voice to a part, are consistently given by massed choirs. For decades conductors and their audiences have swallowed the false theory that his music should be transposed, although there is no need to do so. This book describes and solves these problems, allowing the composer to shine through layers of pseudo-musicological varnish that has obscured a large part of his message.

Monteverdi's Vespers is an exceptional collection of sacred music, both in the inventiveness of the compositions that it contains and in the debate that it has provoked over its use in the seventeenth century and over Monteverdi's intentions in publishing it. This handbook provides all the information that the reader needs for an in-depth appreciation of the musical settings themselves, of the debate that surrounds the original intention of the volume and of the problems of performing the music today. The book includes the texts and plainsongs used by Monteverdi, and a discography.

Claudio Monteverdi: Madrigals, Book 8 Monteverdi / Musicae / Longhini - CD 747313375578

(Music Sales America). Il Ritorno D'Ulisse in Patria (The Return of Ulysses), was first performed in Venice in 1640. Its stature among dramatic works of the seventeenth century has grown considerably and is now one of the most frequently performed of Baroque operas. Alan Curtis has produced the first complete performing edition to be drawn from all available sources, carefully annotated throughout, the figured bass completed and the newly edited libretto and argomento given in full. Along with a useful scholarly preface and numerous corrections of notes, rhythms and harmonies, this edition is also of particular service for its careful corrections of the faulty libretto which has, until now, had to serve for all modern performances. Libretto by Giacomo Badoaro. English Libretto by Anne Ridler.

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Claudio Monteverdi is one of the most important figures of 'early' music, a composer whose music speaks powerfully and directly to modern audiences. This book, first published in 2007, provides an authoritative treatment of Monteverdi and his music, complementing Paolo Fabbri's standard biography of the composer. Written by leading specialists in the field, it is aimed at students, performers and music-lovers in general and adds significantly to our understanding of Monteverdi's music, his life, and the contexts in which he worked. Chapters offering overviews of his output of sacred, secular and dramatic music are complemented by 'intermedi', in which contributors examine individual works, or sections of works in detail. The book draws extensively on Monteverdi's letters and includes a select discography/videography and a complete list of Monteverdi's works together with an index of first lines and titles.

Book by Stevens, Denis (trans, intro)

The Baroque Style in music emerged during the late sixteenth century and lasted well into the eighteenth. Italy was the source of this new artistic impulse, which soon spread across Europe, and the period was one of striking contrasts and innovations. Few other eras witnessed such a profusion of new forms: opera, oratorio, cantata, sonata and concerto.Although Baroque music contained distinct national idioms, fundamental values were shared by all the leading creative figures of the time. One such value was a declared intent to move the passions, to stir emotions - those emotions appropriate to the two great contemporary patrons of music, the Church and the nobility. Ecclesiastical commissions encouraged composers to depict suffering, pathos and elation, while secular and court patronage gave them the opportunity to evoke splendor and opulence.Nicholas Anderson, a leading authority on Baroque music and a well-known scholar and broadcaster, relates musical history to the cultural milieu of Church and court, as well as to public patronage. He considers both major figures such as Bach, Handel and Vivaldi, and lesser-known artists whose music is now being avidly collected and explored - Telemann, Charpentier and Leclair, among others.The Baroque period, one of the richest in Western music, provided the foundation for all subsequent musical development. Its enduring strength is amply attested by the popularity of today's "authentic" performances and recordings. Now this growing interest finds its proper complement in a complete and authoritative account of the Baroque heritage.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

New! This book is in the same immaculate condition as when it was published 1.47